Operator: John Grimaldi.
Cast: Lyda Borelli, Livio Pavanelli, Renato Visca, Gino Cucchetti.
Film restored by the Film Library of Bologna in 1993, a copy of the archive Sodre in Montevideo, 1500 m (55 ').
"The action of this bouquet of four carnivals held in the castle of Malaysia. Carnival
white show the young sons of a sovereign and their cousins \u200b\u200band cousins \u200b\u200benjoying themselves in festive games and fantastic.
Years pass.
Luciano, heir to the crown, falls in love with Lyda. And the carnival is blue.
But when he realizes that si cerca di strappare Lyda alla sua passione, rinunzia al trono e fugge con lei. La fuga del principe alimenta le ambizioni tra i cugini che aspirano allo scettro: si distruggeranno tra di loro. Ed è il carnevale rosso.
Tra gli aspiranti vi è Carlo, che pensa di essere il prescelto, ma, temendo che il vecchio re possa cambiare idea e richiamare il legittimo erede, tesse un'insidia a Luciano e lo pugnala a tradimento. Ed è il carnevale nero.» (dalla brochure originale del film)
« Fassini mi mandò a chiamare: Venga alla Cines a far colazione con la Borelli e con me... La Borelli, alla Cines, ci abitava. Che quando tra un periodo e l'altro della sua vita d'attrice di prosa dava alcune weeks to film, Baron Fassini did not want to lose what little time is required to conduct even the half-hour car in the famous actress from his home theater. The allestivano So there, in the central building of the Chinese, an apartment and Lyda Borelli did not, leaving the bed, which make up the stairs to be in its imperial beauty blonde in front of the camera. And there Fassini Alberto came every day to supervise the work, locked in his big wool sweaters, with its step by Emperor Napoleon of filmmaking, unfailing courtesy, but in the dry and fast in the controls in the habit of hasty authority that came from ships war on which he had spent, brilliant officer Marine, the years of early youth. Then it was the second youth, as is now the third, who always has a youth Alberto Fassini parts to be forever young. Intelligent and brilliant, enlightened, many experiences of, Baron Fassini wanted to give the Chinese a production of prestige than any other film. A man of taste, culture, wide artistic sense, not followed by industrial submissive, its various directors. But all of them dominated and instead, like on the ancients his ships, calling them a happy relationship. There was in him a desire to elevate the tone of the film and bring it to an authentic expression of art. So one morning at his table avutomi next to Lyda Borelli, commanded by Admiral dry and short in the tone that speaks to the officer asking him to call a spear in the sea: "In ten days, a film for your Lyda Borelli, a vast, artistic, magnificent, and worthy of her 's his art ...". I wrote Carnevalesca : a bold attempt to symbolic and allegorical film divided into three phases and comments: a carnival that was the white world of happy adolescence in young people the principles of a great imperial court, a carnival, red, and burning in the blind fury of life, passion and bloody debt those first innocent black and a carnival which was the visual poem of old age, and blacks in a world of ghosts, survivors gathered around the dark ombre d'un tragico passato. Occorrevano al film, negli episodi visivi e corali dei tre pittoreschi carnevali, larghi commenti musicali ed una specie di sinfonia dei suoni che accompagnasse la sinfonia dei colori. Si pensò a Mascagni, si pensò a Zandonai: impegnati l'uno e l'altro in opere nuove. E il film, al quale la musica, la grande musica, era indispensabile, rimase senza uno dei suoi principali elementi, affidando il sostrato lirico della composizione visivi solo ai commenti rabberciati delle orchestrine dei cinema cucendo insieme vecchi motivi verdiani e valzer viennesi.
Amleto Palermi inscenò Carnevalesca . Lyda Borelli ne fu stupenda interprete in un imponente gruppo d'attori tra i quali, tentato momentaneamente the film was also a fine Venetian poet, then a young journalist, and later that were strengthened by solid race and political writer, Gino Cucchetti. The film work of this particular result is that ten composers saw in Carnevalesca without music, the possibility of a great opera. First it was written by Giacomo Puccini. Meeting his letter, Milan: "I admired Carnevalesca last night. The people who applauded the film does not ever last night, in my presence, they clapped his hands. Operon that there would be in there! We want to talk about it? I will be in Rome next week. He always spoke with Puccini undecided, without concluding anything. And others, after Puccini, thought all'opera. Due o tre librettisti addirittura elaborarono schemi di libretto. Troppi galli a cantare!... Il giorno non venne. E l'opera lirica è ancora da farsi, mentre Carnevalesca , nel cimitero senza croci delle pellicole, nella fossa comune della vecchia cinematografia, è sepolta e dimenticata, senza un fiore, senza una lacrima...»
Lucio D'Ambra (Gli anni della feluca, Lucarini 1989)
E Carnevalesca, restaurata e presentata nel festival Il Cinema Ritrovato di Bologna edizione 1993, esce ogni tanto dal Pantheon dei Film Italiani Ritrovati Restaurati Invisibili... Pochi giorni fa a Venezia, Videoteca Pasinetti.
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